Came in with the anticipation of being on vacation while watching a Woody Allen movie, but the movie didn't give the usual lighthearted mood.
Love, gangsters, crime, death, essential literature and art, as well as a mockery of literature and art, all familiar factors are available, but the film lacks ironic humor, giving people a foggy sense of pressure.
Keywords are: drama, life, Ferris wheel. The theme is that art and reality are inseparable. In the end, the illusion of art is disillusioned, and life becomes a reality tragedy.
The protagonist is Ginny, who is married for the second time, and Mickey is the screenwriter, director, narrator and actor. Tired of her boring husband, Ginny was walking on the beach on a rainy day, wearing a purple French dress and looking melancholy, like a scene in a movie. Ginny seems to know where the camera is—yes, as far as the audience is concerned, she's the heroine of the movie, and she, as a character in the story, seems to know she's the heroine. Ginny's "supernatural ability" is not for nothing. After meeting the "male protagonist" Mickey, she took to the stage again with a gloomy life. Mickey is a lifeguard, and more importantly, a literary man. He is good-looking and talented. He is open-minded enough to accept an extramarital relationship with a middle-aged woman without any resistance. Mickey wanted to write a screenplay, was a dreamer with big ambitions, and was a slush in the playground where every married man indulged in drinking and fishing. These characteristics determine that he is a qualified male lead and an important narrator in the drama of Ginny's life.
For Ginny, Mickey's "lifeguard" status has a double meaning. She is like a drowning person who grabs a life-saving straw, trying to use this artistic representation, the entity of love, to save herself from the mediocre reality. As the heroine, Ginny dutifully rehearses in front of the mirror before her date, and her new relationship brings her old drama role back to life. Mickey is drawn to her dramatic encounter, and Ginny catches Mickey as the protagonist grabs the author, hoping to be a major character in his script—which is both Mickey's work and Mickey's future life.
Ginny's tragedy is to confuse reality with art. She told Mickey about her life experience and believed that she was just playing the role of a waiter who peeled oysters every day. In her opinion, the reality was false, and the life on the stage entangled with old dreams was the reality of art. In her first marriage, she mistakenly took the emotional scene on the stage seriously, and single-handedly caused the breakdown of the marriage. And this time, Ginny, who is nearly forty years old, repeats the same mistakes and regards Mickey's relationship as true love, but Mickey is just a playwright who is ruthless and unjust to the character. As the heroine, Ginny's heart never gets old, which means she never grows up, and her soul lingers on the glorious stage of yesteryear. But Mickey is a playwright and experienced, so the first time he saw Carolina, he knew that in the long drama of his life, the heroine should be replaced.
Ironically, Carolina attracted Mickey in almost exactly the same way as Ginny: beautiful face, unhappy marriage, and being hunted by gangsters, Carolina also came with a heroine script. But there can only be one Mickey heroine, and both are victims of marriage, both waiting for him to rescue themselves from the tower. But Ginny's script seemed to be a thing of the past, and Mickey decided to show it off. Of course he can't compare himself with Shakespeare's Romeo, but Ginny discovered the truth of Mickey's breakup with female acumen, and made the wrong ethical choice under jealousy - she had nothing when she learned that the enemy was catching up did, which eventually led to Carolina being captured.
It's very interesting that when the insightful Mickey came to look for Ginny, Ginny was wearing a costume at home, from jewelry to makeup, so I thought she was crazy at first. Ginny made a remark like she was reciting a playbook, and then took a small step from the dramatic fantasy to reality, as Mickey's statement receded. She became a character on the stage, and what she performed was undoubtedly a tragedy, and the arrival of Mickey heralded the ending of the tragedy. As the protagonist, she should be killed according to the "script". Is the protagonist in a serious play.
Ginny thinks that the climax of her life has not been answered, and Mickey leaves without taking the knife. Ginny's stage ended, and her tragedy was having to struggle from her artistic dream and return to the boring routine before Mickey and Carolina arrived. Hamdi, who had lost his daughter, was beating his chest for only a moment. How should he live his last days? The washerwoman's dance song regained its hegemony after numerous background music rounds, and Ginny's short second stage life came to an end after Ginny callously rejected her husband's proposed fishing date.
I haven't seen O'Neal's play, where the conflict has the dramatic ethical dilemma of Arthur Miller. I didn't go back and think about the meaning of "Ferris wheel" until the end. The superficial meaning is the location of the event, and the red and blue light from the Ferris wheel dyes the characters a spooky rather than realistic color. The Ferris wheel is also a symbol of Ginny's life. She thinks that she has risen to the sky, and after reaching the hypocritical ideal, she is pulled back to the origin by reality. It just goes through a cycle, adding to the desolation. The Ferris wheel as an amusement facility is a tool for children to dream, and Ginny, who suddenly became a child on the Ferris wheel, seems to have experienced an overage joke. Her story may be better than indulging in Burning Richie is even more absurd.
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